Zuk seoi piu lau

The streets will be swept clean.

There will be no refugees.

The related households can live in public housing.

Social workers all want to be leaders of ccp.

And reporters can only write press releases. After the evil law of ccp, there will be no more light. I would like to call that old place the old HK. I will always miss it. There used to be freedom. Those who believed in justice fought there, but the red evil regime has swept away. We are all waiting for the glorious day. .

The story is quite heartbreaking. The scene that impacts me the most is when Fai explains why they have to treat the first "meal". This film really highlights the desperate situation of the marginalised, whom are completely left behind and forgotten by almost every one in the society.

As the same time, Mr. Ng can take the role of "Hand Rolled Cigarette (2020)" or the role of this film. He took the role of this film with one condition as movie investor as producer, who control the outcome of the movie, that is his deal and he did wonderful job, audiences never know about it! As I mentioned on preview film review on same director (do check if interested), his father got connection with Mr. Ng, somehow he agreed to do so. As Mr. Ng as the producer and Actor, how come he never contribute?

"In DRIFTING, Francis Ng play Brother Fai, a hophead fresh out of the joint, barely ekes out his existence with other unfortunates, huddled together in jerrybuilt wooden huts in the poorest area of the city. Jun Li is tight-lipped to reveal Fai's misfortunes (as a defiance against sensationalism), who is dismally alone, no home, no family, we only get wind that he has lost a son (the cause of death is moot), and this bereavement is allayed when he becomes pally with a young, vocally-challenged runaway Muk (Or), their father-son rapport undergirds the emotional weight of the film, near the end, Li even conjures up a case of prosopopoeia to plead for Fai's utter dejection and drug-addled taedium vitae."

read my full review on my blog: Cinema Omnivore. Thanks.

After Rotterdam, it was brushed twice on the big screen. To be honest, putting this film in the first youth film exhibition was quite a dimensionality reduction blow. Whether it is perspective, completion, theme, or performance, they are the leaders in Hong Kong films and even young directors' works this year. Er brush noticed more details missed because of English subtitles. For example, Huige named the harmonica boy amu because it used to be his son's name, and their feelings were more effectively explained; Another example is the Saigon identity of the "master", which has a deeper meaning when connected with the political background. Although this is an angry film, it is interpreted in a most powerless and sad state, which may be the living state and psychology of many Hong Kong people at present. Therefore, this is not only a human film that pays attention to the bottom people, but also a film full of expression and wants to make a voice for more people. The scene where Xie Junhao and his son met again in front of the video will still burst into tears even if you watch it again.